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post #28231 of 32585 Old 02-28-2019, 05:45 AM - Thread Starter
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TV Notes (Streaming)
Star Trek: Discovery Renewed For Season 3 With New Showrunner Added
By Keisha Hatchett, TVGuide.com - Feb. 27, 2019

Star Trek: Discovery isn't going away anytime soon. The CBS All Access series is getting a third season, along with a new showrunner.

Writer Michelle Paradise, who boarded Discovery midway through Season 2, has been promoted to co-showrunner. She'll share top duties with Alex Kurtzman who also has his hands full expanding the Trek universe — a Picard series, Michelle Yeoh spin-off, and two animated series are just a few of his projects currently in the works. Paradise previously served as an executive producer on the CW series The Originals and the LOGO drama Exes & Ohs.

"The massive success of Star Trek: Discovery's second season launch exceeded our expectations in both driving subscriber growth and generating a phenomenal response from Star Trek fans," said Julie McNamara, Executive Vice President of Original Content for CBS All Access, in a statement. "With Alex Kurtzman and Michelle Paradise at the helm, we look forward to continuing Star Trek: Discovery's journey, growing the Star Trek franchise on CBS All Access and bringing fans new Star Trek stories for many years to come."

Season 2 finds the Discovery crew searching the galaxy for clues about mysterious red signals that suddenly appeared in space, and how they relate to a cryptic Red Angel figure who appears during times of great distress. The new season bridges the gap between old and new Trekkies with the arrival of fan favorites like Captain Pike (Anson Mount) and Spock (Ethan Peck).

Catch Season 2 of Star Trek: Discovery Thursdays at 8:30/7:30c exclusively on CBS All Access (details on how to subscribe can be found here).

(Disclosure: TV Guide is owned by CBS Interactive, a division of CBS Corporation.)

https://www.tvguide.com/news/star-tr...ew-showrunner/
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post #28232 of 32585 Old 02-28-2019, 05:50 AM - Thread Starter
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TV Notes (Broadcast)
90210 Revival Series—With a Twist—Coming to Fox Summer 2019
By Chris Harnick, Eonline.com - Feb. 27, 2019

Fox is returning to Beverly Hills with 90210, the Beverly Hills, 90210 "revival" of sorts. The six-episode 90210 event series will air summer of 2019.

Jason Priestley, Jennie Garth, Ian Ziering, Gabrielle Carteris, Brian Austin Green and Tori Spelling are all part of the reunion. The original Beverly Hills, 90120 aired for 10 seasons between 1990-2000 on Fox. A sequel series, 90210, was ran for five seasons on The CW between 2009-2013.

According to Fox, the new 90210 comes with "a big twist": The cast will play "heightened versions of themselves in a brand-new serialized drama—with a healthy dose of irreverence—that is inspired by their real lives and relationships."

In a press release, Fox said the new series finds the actors reunited after "one of them suggests it's time to get a Beverly Hills, 90210 reboot up and running. But getting it going may make for an even more delicious soap than the reboot itself. What will happen when first loves, old romances, friends and frenemies come back together, as this iconic cast—whom the whole world watched grow up together—attempts to continue from where they left off?"

Spelling, who recently competed on The Masked Singer, previously told E! all about the mockumentary style of the show.

"It's not technically a reboot, because I feel like everyone has seen the reboot. We don't want to be the last ones like doing the reboot thing, and no one wants to see like old versions of ourselves, but they do want to see us playing our characters, so what we're doing is the entire cast is playing heightened versions of themselves," Spelling explained to Carissa Culiner and Morgan Stewart "Think Curb Your Enthusiasm episodes, in an hour-long show, and we're all playing heightened versions, so it could be fictional, it could be non-fictional, people will have to guess. And then we will have pop-ins, because we're behind the scenes trying to do the reboot."

Chris Alberghini and Mike Chessler are writing and executive producing the series. No official premiere date aside from summer 2019 was given.

https://www.eonline.com/news/1019094...ox-summer-2019
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post #28233 of 32585 Old 02-28-2019, 05:54 AM - Thread Starter
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Technology/Business Notes (Gaming)
Has 'Fortnite' peaked? As season 8 arrives, research suggests revenue dipped in January
By Mike Snider, USA Today - Feb. 28, 2019

Could "Fortnite" be losing its mojo?

The hugely popular online game saw its revenue fall 48 percent in January from the previous month, according to estimates from research firm SuperData.

And that happened before a new challenger, "Apex Legends," appeared on the scene, potentially stealing some thunder.

That doesn't necessarily concern Epic Games, publisher of "Fortnite," which is played by more than 200 million. That's because December is historically a big spending month for games, so that could contribute to a January dip.

And so could the short attention span of casual gamers, says Joost van Dreunen, co-founder of SuperData, a New York-headquartered research firm, acquired by Nielsen last September.

"Fortnite" has a free battle royale mode that lets players compete to be the last person standing in the game. With many free-to-play games, "there's a core user base that would spend a lot of time and a smaller base that would spend a lot of money," van Dreunen said. "And there is a layer that comes and plays the game (and) they cycle out and move onto the next thing."

While some casual players may come and go, "Fortnite" has a stable audience, and revenue from that segment continues to grow, he says.

Even though "Fortnite" saw a revenue decline from December 2018 to January 2019, the game's revenue increased 85 percent year-over-year, says SuperData, which tracks monthly spending of more than 160 million players to achieve its estimates.

Epic Games' revenue "tends to fluctuate from one month to the next," van Druenen said.

That's because players' spending is increasingly tied to the "battle passes," which Epic Games sells within the game for about $10.

You buy items using the game's virtual currency, called "V-bucks," which can be purchased with real-world money and earned by in-game achievements. In addition to a battle pass, which gives players a dozen items over time, players can also buy individual items to upgrade their game, such as new costumes, weapons and celebration dances called "emotes," ranging from $2 to $15.

Players want to update their game because they always see their character in the game's third-person perspective, says Michael Pachter, managing director of equity research for Wedbush Securities and a longtime industry analyst.

In-game items are only available for a limited amount of time, which drives players to purchase them, he says. "Fortnite" battle passes can have a dozen items "so people feel like it’s a good deal," Pachter said.

Until now, "Fortnite" has outperformed as a revenue generator, in comparison to other free-to-play games, he says. A typical successful free-to-play game gets $10-$15 per each monthly active user. "Fortnite" approaches about $40 per monthly average user with its "very unique monetization scheme," Pachter said.

A private company, Epic Games has not released revenue figures for "Fortnite," but the game reportedly helped fuel $3 billion in profit for the company in 2018, according to TechCrunch, which cited a source knowledgeable of the business in a December 2018 story. SuperData estimated "Fortnite" earned $2.4 billion in 2018.

Epic Games did not return a request for comment about SuperData's projections.

For February, Pachter thinks "Fortnite" revenues may be down 10 percent, due to the arrival of "Apex Legends." That game, from the studio that developed the "Titanfall" games and published by Electronic Arts, arrived Feb. 4. The game "took share from 'Fortnite,' that happened for sure," Pachter said.

Epic is making moves to stoke its audience. Over the past two weeks, the publisher has run a promotion, which ended Wednesday, awarding a free Season 8 Battle Pass for players who complete various in-game challenges.

The new season of the game begins Thursday, which will likely boost interest.

Still, the game recently set two landmarks for activity. It had its biggest event ever on Feb. 2 when 10.7 million players were online for a live in-game concert performed by electronic music maestro and DJ Marshmello. More recently, on Feb. 16, the game had its largest non-event day with 7.6 million players at the same time.

And Epic just began promoting this year's inaugural Fortnite World Cup and the $100 million in prizes that will be awarded during that competition and weekly accompanying tournaments.

Whether "Fortnite" may be losing some of its cultural clout, however, remains to be seen.

"Apex Legends" is only expected to gain players. And other games such as "Call of Duty: Black Ops 4" have added new attractions for online games including its "Fortnite" rival "Blackout" mode.

"Fortnite" is now a "firmly established franchise," van Dreunen said. But it may not remain the hippest.

If "Fortnite" is to video games what, say rapper Cardi B is to music, "whatever is hot and hip right now," he said, "next season is different."

https://www.usatoday.com/story/tech/...ed/2990599002/
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post #28234 of 32585 Old 02-28-2019, 06:02 AM - Thread Starter
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TV Review (Cable)
‘Better Things’ Season 3: Pamela Adlon Steps Up
By Alan Sepinwall, Rolling Stone

“Your mother may be the greatest mother in the world,” Sam Fox’s brother Marion (Kevin Pollak) tells her youngest daughter midway through the new season of FX’s Better Things (Thursdays at 10 p.m. ET; ★★★★1/2 out of five). “She’s crazy and a complete pain in the ass and annoying, but she loves you and she would do anything for you. And the most important thing in the world — the most important thing — is that she’s there. You wake up, she’s there. You go to sleep, she’s there. You need her, she’s there. You don’t need her, she’s there. Even when she isn’t there, she’s there. She will always be there. And that is all that matters.”

Sam Fox is played by Pamela Adlon, who co-created Better Things and heavily based Sam’s life and career on her own. Like Sam, Adlon has three daughters, is not exactly famous but recognizable, and makes a lot of money off voice work (in the new season, a fan tells Sam how much he loved her in “Ching of the Mill”). And like Sam, Adlon is seemingly always there, an actor since her teen years in the Eighties. The series is about many things, including motherhood, friendship, aging and messy relationships, but underlining all those topics is a core theme: the value, and the challenge, of simply showing up. Sam’s there for her kids Max (Mikey Madison), Frankie (Hannah Alligood) and Duke (Olivia Edward), for her friends, her co-stars and her imperious and inappropriate mother, Phil (Celia Imrie), even when these people don’t appreciate her — even when it’s exhausting. And time after time, this sharply observed, heartfelt, absolutely wonderful dramedy illustrates how much her mere presence ends up mattering, even though Sam herself is a disaster who frequently screws up everything else in her life.

You could choose to define the new season by an absence, since it was made without Better Things‘ disgraced co-creator Louis C.K., who wrote or co-wrote nearly every episode the previous two years. But Adlon — who continues to direct each episode and has at least a shared writing credit on most of the season’s scripts — is still here, and it’s still a thinly veiled version of her own life. Her steady presence informs not only the stories but the series’ warm yet sarcastic tone.

Season Three is a bit more serialized than the show used to be: Sam is cast as a lead in a potential summer blockbuster (and hates every minute of it, because acting is just a job to her, and the movie’s director is awful at managing people); Max goes to college; Phil continues to age less than gracefully; Sam seeks the counsel of guest star Matthew Broderick (and Adlon draws out his most relaxed and confident performance in years). But each episode feels like a compelling short story, or a collection of theme-linked tales, toggling between topics both deep and juvenile. (Sam preps for a colonoscopy with a night on the toilet, then grapples with her mortality as she waits for the results.) And the atmosphere feels so lived-in and inviting — even when the girls are being awful, which is most of the time — that this newfound emphasis on plot feels like a bonus for getting to spend time in Sam’s company.

When Max prepares to leave her mom to party with her new college friends, Sam says, “I want my big This Is Us-milestone-moment goodbye hug.” But Better Things feels so much more artful than even a very good network family drama that we don’t need the hug to fully appreciate what mother and daughter feel.

Because almost every scene either features Sam or has characters talking about her, there’s a risk of the series feeling like Adlon’s love letter to herself. But Adlon gives her fictionalized stand-in clear and observable flaws. And if she just wanted the series to be a celebration of her own awesomeness, well, it’s great enough that she’s earned that right.

https://www.rollingstone.com/tv/tv-r...review-797369/
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TV/Business Notes (Streaming)
How Netflix Ratings Teases Lead to Talent Negotiating Leverage
By Bryn Elise Sandberg, The Hollywood Reporter - Feb. 28, 2019

When the cast and creators of Netflix's The Kissing Booth went in to negotiate a sequel to the summer rom-com smash, they came armed with some cold, hard stats, a rare luxury for a project at a service that's long been shrouded in secrecy.

Not only had Netflix's chief content officer Ted Sarandos called the teen flick "one of the most watched movies in the world" weeks after its release, the company later said the film was its most replayed movie of 2018, with two of every five viewers repeat watching. Those metrics, per sources close to the dealmaking process, became a key bargaining tool during the negotiation. Says one rep, "It helped give leverage to push the numbers up."

The steps Netflix has taken in recent months to loosen its reputation as a data secrecy machine by sporadically rolling out stats for select hit projects — Bird Box, Sex Education and You, among them — has Hollywood talent and their reps rejoicing. Finally, they have something other than elusive "buzz" to bring to the negotiating table. "It's actual data, so we're going to use it," says attorney Joel McKuin, whose clients include You showrunner Sera Gamble and Stranger Things star Gaten Matarazzo. Adds another rep, "All we had before was BS."

That lack of transparency was vexing to reps who traditionally use ratings and box office data as leverage. "It's been very frustrating, not only in a renegotiation context but in any context when you're doing the next thing and the last thing the client did was a Netflix project," says a top rep, one of several who spoke on the condition of anonymity so as to not thwart ongoing business with the streamer. "All you get to use is hyperbole, innuendo and suggestion. And you don't really know whether it was a big hit or not … so we're just stabbing in the dark, and that's not good for anybody."

Looking ahead, reps are busy plotting how they'll use the data in their conversations with the streaming service. Insiders say a Kissing Booth-style strategy is being employed on a potential sequel to The Christmas Chronicles, which Netflix touted as one of the biggest films of Kurt Russell's career when it supposedly notched 20 million views in the first week. Sources note that the newly revealed data — all of it still unconfirmable by outside sources — so far is proving more valuable on deals for films, particularly those that didn't include a sequel in the initial contract, compared with television shows, where the opportunity to renegotiate often comes in later seasons.

For Bird Box director Susanne Bier, just having numbers to point to is helpful, even if no sequel happens ("As of now, there are no concrete plans," she says). Bier's Sandra Bullock thriller, per Netflix, was watched by 45 million accounts within a week and climbed to 80 million two weeks later. "It was important for that to become public knowledge because it was comparable to an enormous hit in a traditional movie release," Bier says, "and they were saying, 'Hey look, we're actually making an impact.' "

You showrunner Gamble was told only 24 hours ahead of time that Netflix would be releasing viewership for her Greg Berlanti-produced thriller. But she had to wait until the actual earnings call Jan. 17 to hear what those metrics were. You, she'd come to learn, was on pace to be seen by 40 million member households in its first month on the service. "I still haven't even processed what a number like 40 million even means," she says. "I'm just kind of flabbergasted."

But for all the cautious rejoicing that's happening in the rep community, there are still plenty who admit they're perplexed by Netflix's flirtation with transparency. Sure, the company is likely vamping for shareholders with what seem like impressive stats, but some wonder about the streamer's sudden willingness to cede leverage. "They just gave Warner Bros. and Penn Badgley a bunch of ammo," says one rep of You's producing studio and star. "Why would they do that?" Of course, since Netflix had already closed its deal on the series' second season before any such figures were revealed, the data won't become useful until potential third-season negotiations. As for how it might impact talks, Gamble quips, "It doesn't hurt."

https://www.hollywoodreporter.com/ne...verage-1190652
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Nielsen Overnights (Broadcast)
Ratings: Lethal Weapon Dips With Finale, While The Gifted Stays Low
By Matt Webb Mitovich, TVLine.com - Feb. 27, 2019

Fox Lethal Weapon wrapped Season 3 (at the very least) on Tuesday night with 3.1 million total viewers and a 0.7 rating, down a tenth in the demo week-to-week (though shy of its all-time low of 0.6). Read a recap of the finale, which TVLine readers gave an average grade of “A-.”

Fellow bubble drama The Gifted then closed its sophomore run with 1.7 mil and a 0.5 (and an average grade of “A-“), adding a few eyeballs week-to-week while holding onto its demo low.

Elsewhere…

NBC | The Voice (10.6 mil/2.2) dominated the night in both measures, while World of Dance (6.3 mil/1.4) returned to its best numbers since Week 2 of its summertime sophomore run. WoD now makes its regular time slot premiere this Sunday.

CBS | NCIS (11.7 mil/1.2), FBI (9.5 mil/0.9) and New Orleans (7.2 mil/0.8) all were steady in the demo.

ABC | American Housewife (4.4 mil/1.0), The Kids Are Alright (3.3 mil/0.8) and black-ish (3.1 mil/0.8) each rose a tenth, while Splitting Up Together (2.5 mil/0.6) and The Rookie (3.9 mil/0.6) were steady.

THE CW | Leading out of a Flash rerun, Roswell, New Mexico (977K/0.2) dipped to season lows.

https://tvline.com/2019/02/27/lethal...ed-or-renewed/

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Technology/Business Notes (Gaming)
Has 'Fortnite' peaked? As season 8 arrives, research suggests revenue dipped in January
I just bought my season pass this morning .
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I really ought to act more like a woman of my advancing years, but I’m growing old disgracefully.
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post #28238 of 32585 Old 02-28-2019, 06:29 AM - Thread Starter
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TV/Legal Notes (Broadcast)
'Reprehensible' Fox Ordered to Pay $179 Million to 'Bones' Actors and Creators, Report Says
By Brian Raftery, Fortune.com - Feb. 27, 2019

No bones about it: Fox is about to lose a lot of money.

In a stunning move, an arbitrator has demanded 21st Century Fox pay nearly $179 million to several key participants of Bones, the hit television drama that Fox both produced and aired for twelve seasons before the show ended in 2017. The decision was handed out earlier this year, but only revealed today, according to The Hollywood Reporter.

The ordeal began in 2015, when multiple lawsuits were filed against Fox and its parent company by Bones actors David Boreanaz and Emily Deschanel, as well as executive producers Barry Josephson and Kathy Reichs. They alleged that Fox had underpaid them their share of profits from the show’s successful run, using various methods of obfuscation and creative accounting.

The case eventually went to an arbitrator, and after several years, Fox was ordered this month to pay the plaintiffs $50 million in actual damages, and $128 million in punitive damages, along with various suit-related fees. The near-$179 million total makes it the largest TV-related lawsuit victory since 2011, when Disney was told to shell out $319 million in a case involving profits from ABC’s Who Wants to be a Millionaire? (the figure was upheld in court a year later).

Bones remains the longest-running drama in Fox history, and was a reliable ratings hit throughout its twelve-year run, reportedly earning half a billion dollars in its first seven seasons alone. But the cast and creators were told the show wasn’t profitable, despite the series being licensed to numerous ancillary markets, including Hulu, the streaming service partly owned by Fox.

According to the case’s arbitrator, the Reporter notes, the Hulu presence was especially problematic, as Fox was essentially “self-dealing” by licensing its own show to Hulu at a desirable cost (one that, presumably, affected the show’s profits). The arbitrator claimed that the company maintained “a cavalier attitude toward its wrongdoing” and practiced “reprehensible conduct” in dealing with the Bones team.

21st Century Fox merged with (DIS, -0.63%)Walt Disney last year in a deal worth more than $70 billion. On Wednesday, Disney chief Bob Iger defended two of the Fox execs singled out in the arbitration, Peter Rice and Dana Walden, saying he had “complete confidence in their character and integrity” (Rice and Walden have both secured top positions at the post-merger Disney).

Fox has announced it will appeal the punitive-damages ruling, though the actual-damage claim apparently won’t be contested.

The case likely won’t be the only high-profile TV lawsuit on the horizon. Later this year, a trial is set to begin between The Walking Dead co-creator Frank Darabont and network AMC. Darabont’s asking for $300 million in missed profits—in other words, a lot of bones.

http://www.fortune.com/2019/02/27/fo...anz-deschanel/
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Obituary
'Halt and Catch Fire' actress Lisa Sheridan dead at 44
By Tyler McCarthy, FoxNews.com - Feb. 28, 2019

“Halt and Catch Fire” actress Lisa Sheridan died at her New Orleans home on Feb. 25 at age 44.

The star’s manager, Mitch Clem, confirmed her death to People saying that there’s currently no cause of death, but assured fans that she did not take her own life.

“We all love Lisa very much and are devastated by the loss we all feel,” Clem told the outlet. “She passed away Monday morning, at home, in her apartment in New Orleans. We are waiting for a coroner's report on cause of death.”

He continued: “The family has unequivocally confirmed that this is not a suicide. Any suggestion to the contrary is absolutely, 100 percent unfounded.”

Representatives did not immediately respond to Fox News’ request for comment.

As Variety reports, Sheridan attended Carnegie Mellon School of Drama in Pittsburg, Penn. and earned more than 30 television credits throughout her career. In addition to “Halt and Catch Fire,” Sheridan appeared in “CSI: NY,” “The Mentalist,” “The 4400,” “Without a Trace” and “Diagnosis: Murder.”

Her friend, and co-star on “Only God Can, Donna D’Errico shared news of her death on Facebook along with a fond farewell.

“I am sitting here stunned. Lisa and I filmed a movie together 5 years ago and became very close on set and remained close friends after filming ended. It’s so rare to find kind, gentle souls like hers in this industry, this city...even this world,” D’Errico wrote in part. “Truly one of the most genuinely sweet and gentle people I’ve ever come across in my life. She brought a sweetness and bright energy to any room she happened to walk into...even in her darker times.”

Director, magazine editor and friend of Sheridan Michael Dunaway also took to social media to remember the late star.

“I met Lisa when she was fourteen years old, over thirty years ago. We were immediately attached at the hip, true soulmates from minute one,” he wrote on Instagram. “For the rest of the days of her life, she was a central part of mine. She was beautiful, obviously, and an immensely talented actor, and a wonderful friend, but more than anything she really did radiate this impossibly bright energy and life. Even in her dark moments.”

Sheridan was previously engaged to "A Million Little Things" star Ron Livingston.

https://www.foxnews.com/entertainmen...dan-dead-at-44
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TV Review (Cable)
'Leaving Neverland': Riveting story that's tough to watch
By Rafer Guzmán, Newsday - Feb. 27, 2019

THE SERIES "Leaving Neverland"

WHEN | WHERE Sunday and Monday at 8 p.m. on HBO; both parts premiere on HBO streaming platforms Sunday at 10 p.m.

WHAT IT’S ABOUT In 2013, a choreographer named Wade Robson appeared on NBC’s “Today” show claiming he had been sexually abused by Michael Jackson from the age of 7 to 14. Robson’s story made a splash but raised legitimate questions. Hadn’t Robson once defended Jackson against such allegations from another child? Why did Robson wait until after Jackson’s death to backpedal? And didn’t his posthumous lawsuit against the singer prove that he simply wanted money?

In “Leaving Neverland,” filmmaker Dan Reed lets Robson tell his story in painstaking, gut-wrenching detail — and that’s not all. Reed also sits with James Safechuck, a man who for the first time publicly tells a nearly identical story.

MY SAY “Leaving Neverland” may strike some viewers as a tough watch, both for its four-hour length and its verbal descriptions of child sexual abuse. Be prepared.

The accusations made by Robson and Safechuck, both in their 30s, echo each other; the two men even bear a passing resemblance and speak in similarly soft, measured tones. Robson, a native Australian, and Safechuck, from the Southern California suburbs, were budding child entertainers in the mid-1980s, when Jackson was at the peak of his fame, riding the success of “Thriller” (still one of the best-selling albums of all time) and enjoying a record-breaking sponsorship deal with Pepsi. The boys separately crossed Jackson’s radar and found themselves drawn into his whirlwind life of limo rides, shopping sprees and famous friends. Slowly, the boys say, Jackson earned their trust, then initiated them into secret, sexual relationships.

“Leaving Neverland” answers a common question about Jackson’s accusers over the years: What kind of parents let their children sleep in a grown man’s bed? Both the boys’ mothers say they were dazzled and flattered by Jackson’s attention — as many of us would be if a global superstar constantly dropped by for dinner. Today, the mothers speak of deep regret and guilt; they still seem slightly dazed, as if by a sudden blow. “All those wonderful memories,” Safechuck’s mother says. “It was all based on the suffering of my son.”

“Leaving Neverland,” named for Jackson’s kid-friendly theme-park of a ranch in California, exhumes an old scandal but couldn’t be more timely. Time and again it echoes today’s #MeToo movement and stories of predatory sex within the worlds of entertainment, sports and politics. How do these people get away with it? Jackson’s lawyer, Mark Geragos, provides part of the answer when he promises on television to “hammer” any accusers who dare come forward. Shame and guilt help keep abuse survivors quiet; a star-struck public also does its part. (Jackson’s estate has filed a lawsuit against HBO over Reed's film.)

“Leaving Neverland” has justifiably drawn criticism for being one-sided. It notes Robson’s lawsuit only briefly and never mentions that Safechuck filed a suit of his own. Those are flaws, but the stories of these two men are too compelling to ignore.

BOTTOM LINE A riveting story of childhood sexual abuse and its devastating effects on survivors and families.

RATING: ★★★1/2 (out of four)


https://www.newsday.com/entertainmen...iew-1.27828839
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TV Notes
On The Air Tonight
THURSDAY Network Primetime/Late Night Options
(All shows are in HD unless noted; start times are ET. Network late night shows are preceded by late local news)
From Zap2it.com's TV Grid - Feb. 28, 2019

ABC:
8PM - Grey's Anatomy
9PM - A Million Little Things (Season Finale)
10PM - How to Get Away With Murder (Season Finale)
* * * *
11:35PM - Jimmy Kimmel Live! (Ellen Pompeo; Lauren Cohan; professional soccer player Zlatan Ibrahimović)
12:37AM - Nightline

CBS:
8PM - The Big Bang Theory
(R)
8:31PM - Mom
(R)
9:01PM - Young Sheldon
(R)
9:30PM - Fam
10PM - S.W.A.T.
(R)
* * *
11:35PM - The Late Show With Stephen Colbert (Matthew McConaughey; Better Oblivion Community Center performs)
(R)
12:37AM - The Late Late Show With James Corden (Kevin Hart; Stephen James; Phosphorescent performs)
(R)

NBC:
8PM - The Titan Games (Season Finale)
9PM - Brooklyn Nine-Nine
9:30PM - Will & Grace
10PM - The Enemy Within
(R)
* * * *
11:34PM - The Tonight Show Starring Jimmy Fallon (John Mulaney; Kevin Nealon; 2 Chainz and Marsha Ambrosius perform)
12:37AM - Late Night With Seth Meyers (Amy Sedaris; J.K. Simmons; Jon Epcar sits in with the 8G Band)
1:38AM - Last Call With Carson Daly (Ben Barnes; Badflower performs; Rory Culkin)

FOX:
8PM - Gotham
9PM - The Orville

THE CW:
8PM - Charmed
(R)
9PM - Legacies

PBS:
8PM - The This Old House Hour
9PM - Victoria on Masterpiece
(R)
10PM - Antiques Roadshow: Hotel del Coronado Hour 2
(R)

UNIVISION:
8PM - Jesús
9PM - Mi Marido Tiene Más Familia
10PM - Amar a Muerte

TELEMUNDO:
7PM - Exatlón Estados Unidos (120 min.)
9PM - Betty en NY
10PM - El Barón

ESPN:
7PM - College Basketball: Nebraska at Michigan (LIVE)
9PM - College Basketball: USC at UCLA (LIVE)

ESPN 2:
7PM - College Basketball: Connecticut at Wichita State (LIVE)
9PM - College Basketball: Minnesota at Northwestern (LIVE)
* * * *
11PM - College Basketball: Gonzaga at Pacific (LIVE)

ESPN NEWS:
7PM - College Basketball: Winthrop at Hampton (LIVE)
9PM - College Basketball: Jacksonville State at Eastern Illinois (LIVE)

NBCSN:
7:30PM - NHL Hockey: Tampa Bay Lightning at Boston Bruins (LIVE)
10:15PM - NHL Overtime (45 min., LIVE)

A&E:
8PM - The First 48
9PM - The First 48
10:01PM - 60 Days In (63 min.)

BRAVO:
8PM - Top Chef
9PM - Million Dollar Listing Los Angeles
10PM - Backyard Envy
* * * *
11:01PM - Watch What Happens Live With Andy Cohen (Scott Foley; dancer Derek Hough)

CBSSN:
8PM - College Basketball: Old Dominion at Texas-San Antonio (LIVE)

E!:
8PM - Hollywood Medium With Tyler Henry (Terra Jolé; Lizzo; Howie Mandel)
* * * *
11PM - Busy Tonight (Shane West)

FREEFORM:
8PM - Siren

LIFETIME MOVIES:
8PM - Movie - Victoria Gotti: My Father's Daughter (2019)

MTV:
8PM - Ex on the Beach
9PM - Game of Clones

TNT:
8PM - NBA Basketball: Philadelphia 76ers at Oklahoma City Thunder (LIVE)
10:30PM - NBA Basketball: Utah Jazz at Denver Nuggets (LIVE)

TV ONE:
8PM - Urban One Honors (Special, 120 min.)

ESPN U:
9PM - College Basketball: Tulane at Tulsa (LIVE)
* * * *
11PM - College Basketball: UC Irvine at UC Davis (LIVE)

GSN:
9PM - America Says: Dance Friends vs. Real Estate Pros

PARAMOUNT:
9PM - Lip Sync Battle: Marcus Scribner vs. Brandon Micheal Hall (32 min.)
9:32PM - Lip Sync Battle: Ben Feldman vs. Lauren Ash (28 min.)
(R)

VH1:
9PM - RuPaul's Drag Race (120 min.)

COMEDY CENTRAL:
10PM - Broad City
10:30PM - The Other Two
* * * *
11PM - The Daily Show with Trevor Noah (Musician Gary Clark Jr., 36 min.)

FX:
10PM - Better Things (Season Premiere, 37 min.)

POP:
10PM - Flack

SCIENCE:
10PM - How It's Made: World's Toughest 3D Printer

BBC AMERICA:
11PM - Premier League Darts, Night 4

SHOWTIME:
11PM - Desus & Mero (Don Cheadle)

TBS:
11PM - Conan ("PEN15" creators Maya Erskine and Anna Konkle)
(R)

DISNEY XD:
11:30PM - Overwatch League: Hangzhou Spark vs. San Francisco Shock (90 min., LIVE)


http://tvlistings.zap2it.com/?aid=gapzap
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TV/Production Notes (Cable)
New ‘Walking Dead’ Spinoff In The Works, AMC Executives Confirm
By Dade Hayes and Dominic Patten, Deadline.com - Feb. 28, 2019

A new spinoff of The Walking Dead is in the works, AMC Networks confirmed during its quarterly earnings call with Wall Street analysts.

Asked to elaborate on CEO Josh Sapan’s mention of a third zombie outing, COO Ed Carroll said the spinoff is in “active development.” He declined to offer many more specifics, including whether it would fall under an existing distribution agreement with Hulu.

“We’re not at a stage where we’ll be announcing its plans to premiere,” Carroll said. “But we have hired creative people that have pitched story outlines. We feel very good about the development of that series. We’re not in a position to talk about partnerships in terms of other territories or ancillary windows, other than that there’s a healthy appetite for it and we’ve had a number of conversations with a lot of players in the space.”

A new TWD series comes as the mother-ship show has seen a slew of departures such as Andrew Lincoln and Lauren Cohan and series-low ratings in its ninth season. Additionally, as more crossovers are in the works with spinoff Fear the Walking Dead, Lincoln is set for a series of TWD movies and Black Panther star Danai Gurira will be easing down her TWD presence in the show’s upcoming 10th season.

Carroll asserted that the inevitable fade of the original show should not obscure its status as the No. 1 series on cable and the No. 2 drama on TV behind NBC’s This is Us.

“We are well aware that when a show has been around for nine years, you would expect viewership to be declining, but I think we’ve managed that and managed that well,” Carroll said. “When The Walking Dead is no longer part of the channel, I think that will have more of an impact on revenue than on [income] because generally expenses go up as the seasons continue and viewership declines. That’s just a general pattern with any show that’s been around as long as The Walking Dead has.”

The company’s fourth-quarter results beat Wall Street estimates, with adjusted earnings per share of $1.92 clearing the bar by 8 cents and revenue of $773 million coming in more than $15 million above analyst expectations.

https://deadline.com/2019/02/new-wal...rm-1202566913/
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TV Notes (Broadcast)
Luke Perry Hospitalized After Reportedly Suffering Stroke
By Ryan Parker, The Hollywood Reporter - Feb. 28, 2019

Luke Perry has been hospitalized, The Hollywood Reporter has confirmed. The actor reportedly suffered a stroke on Wednesday, according to multiple reports.

Perry's rep Arnold Robinson told THR on Thursday the actor "is currently under observation at the hospital."

The Los Angeles Fire Department responded to an address believed to be Perry's around 9:40 a.m. for a "medical assistance" call on Wednesday, authorities said. Officials would not confirm the person was Perry but did say one person was transported to the hospital.

TMZ was first to report the news.

On Wednesday, Fox announced a revival of Beverly Hills, 90210, where Perry famously played Dylan McKay during the original show's run through the 1990s. The 2019 summer event series sees six original stars returning to play heightened versions of themselves; Perry is not involved in the project.

Perry also did not appear in The CW's 90210 reboot, which featured original stars Jennie Garth, Shannen Doherty and Tori Spelling when it launched in 2008.

The 52-year-old actor currently stars on The CW's comic book adaptation Riverdale, which films in Los Angeles.

https://www.msn.com/en-us/tv/celebri...id=mailsignout
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The Walking Dead, Fear the Walking Dead and now this potential addition reminds me of my childhood when 77 Sunset Strip gave birth to Hawaiian Eye and then Surfside 6.
Crossovers.
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TV Notes
Bianculli's Best Bets
By David Bianculli, TVWorthWatching.com - Feb. 28, 2019

GOTHAM
Fox, 8:00 p.m. ET

Last week, we seemed to arrive, at last, to the moment when the “official” Joker was born – though it might take him tonight’s episode to be unwrapped from his bandages to reveal his new rictus smile. Meanwhile, we have other villains to deal with – many, in fact. Some old, some new, and some almost disturbingly familiar…

TRADING PLACES
IFC, 9:00 p.m. ET

This 1983 movie, starring Dan Aykroyd and Eddie Murphy as two people on polar-opposite ends of the social spectrum whose lives are slowly but surely reversed by outside forces, is a very funny film. But given recent headlines and scandals, let’s watch, this time, paying particular attention to one of Aykroyd’s playful screen disguises, in which he shows up… in blackface. Discuss among yourselves.

BETTER THINGS
FX, 10:00 p.m. ET
SEASON PREMIERE:
Pamela Adlon returns for Season 3, facing even more obstacles in her character’s single-mom life – one obstacle being that her daughters are getting older, which seems to keep complicating things.


http://www.tvworthwatching.com/
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Nielsen Overnights (Broadcast)
TV Ratings: ‘Masked Singer’ Dominates With Season Finale
By Joe Otterson, Variety.com - Feb. 28, 2019

The two-hour season finale of “The Masked Singer” on Fox blew away all of its broadcast competition on Wednesday night.

The singing competition series nabbed a 3.1 rating in adults 18-49 and 10 million viewers over two hours, both of which represent new series highs in Live+Same Day. That is also an approximate bump of 15% in the demo and 20% in total viewers compared to last week’s episode. The first hour averaged a 2.6 rating and 8.6 million viewers while the second averaged a 3.6 rating and 11.5 million.

The closest competition in the key demo for “The Masked Singer” was “Survivor” on CBS, which averaged a 1.5 rating and 7.1 million viewers. NBC’s “Chicago” shows were next up. Both “Chicago Med” and “Chicago Fire” averaged a 1.2 rating at 8 p.m. and 9 p.m. respectively. “Med” drew 8.5 million viewers and “Fire” drew 8.2 million. “Chicago PD” aired at 10, averaging a 1.1 rating and 7.1 million viewers.

“Whiskey Cavalier” made its timeslot debut at 10 on ABC, averaging a 0.7 rating and 4.1 million viewers. That is down a 0.1 from the demo audience the show drew in its post-Oscar slot on Sunday but even in total viewers.

After “Survivor” on CBS, “The World’s Best” continued its downwards ratings slide with two back-to-back episodes. The first episode at 9 drew a new series low 0.5 rating and 2.8 million viewers. The second episode went even lower with a 0.4 and 2.6 million. Across both hours, the show averaged a 0.5 rating and 2.7 million viewers.

https://variety.com/2019/tv/news/mas...gs-1203151933/
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TV/Production Notes (Streaming)
Julia Roberts in Talks to Star in Amazon TV Adaptation of Novel ‘Charlotte Walsh Likes To Win’
By Tim Baysinger, TheWrap.com - Feb. 28, 2019

Amazon Studios could be keeping Julia Roberts in the fold.

The retail giant is in discussions with the actress, who just starred in the first season of “Homecoming,” to star and executive produce a limited series adaption of “Charlotte Walsh Likes to Win,” knowledgeable individuals told TheWrap. Amazon declined to comment.

The series is being adapted by Jon Robin Baitz, who created ABC’s “Brothers & Sisters” and NBC’s “The Slap.”

The novel, written by Jo Piazza, centers on Charlotte Walsh, a woman who wants it all — political power, a happy marriage, and happiness–then has to decide how much she is willing to sacrifice for all that. Walsh leaves her job as a high-powered Silicon Valley executive to move back with her husband and three daughters to her downtrodden Pennsylvania hometown so that she can run for Senate in a midterm election that will decide the balance of power in Congress. She is initially shocked at how nasty her opponent is willing to play in the campaign, and how harshly she is judged by the media. She also sees that the strain wears heavily on her family. When a secret is uncovered by the opposition that could jeopardize her candidacy and everything she holds dear, Charlotte is forced to measure that cost against her ambition to make a difference.

The project is backed by wiip and Roberts’ Red Om Films production company. Roberts will executive produce alongside Red Om’s Lisa Gillan and Marisa Gill, ScratchPad’s Baitz, Rebelle Media’s Laura Lewis, and wiip’s Paul Lee and Mark Roybal.

Roberts is not expected to return for season 2 of Amazon’s “Homecoming,” though she’ll remain on board as an executive producer. While representatives for Amazon would not comment on her departure to TheWrap, an individual with knowledge of the production said she had only signed on to star on the first season, and that it’s possible she could appear on-screen in some capacity in the second season.

“Mr. Robot” creator Sam Esmail, who directed all 10 episodes, had previously told TheWrap that he deviated from the podcast-version of the storyline, in part to give Roberts’ character an ending.

https://www.thewrap.com/julia-robert...-likes-to-win/
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TV Notes (Broadcast)
Luke Perry Hospitalized After Reportedly Suffering Stroke
By Ryan Parker, The Hollywood Reporter - Feb. 28, 2019

Luke Perry has been hospitalized, The Hollywood Reporter has confirmed. The actor reportedly suffered a stroke on Wednesday, according to multiple reports.



The 52-year-old actor currently stars on The CW's comic book adaptation Riverdale, which films in Los Angeles.

https://www.msn.com/en-us/tv/celebri...id=mailsignout
Los Angeles? I'm pretty sure that show is shot in Vancouver.
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Originally Posted by gprace View Post
The Walking Dead, Fear the Walking Dead and now this potential addition reminds me of my childhood when 77 Sunset Strip gave birth to Hawaiian Eye and then Surfside 6.
Crossovers.
Surfside 6's catchy intro tune may still be available on YT. "In Miami Beach!"

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That is not the house boat where they found Andrew Cunannon in. That houseboat was anchored closer to the Alexander, further north on Collins.
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Los Angeles? I'm pretty sure that show {Riverdale} is shot in Vancouver.
Right you are, and nearby locations.

https://www.imdb.com/title/tt5420376...?ref_=tt_dt_dt

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TV/Legal Notes (Broadcast)
'Reprehensible' Fox Ordered to Pay $179 Million to 'Bones' Actors and Creators, Report Says
By Brian Raftery, Fortune.com - Feb. 27, 2019
EXCERPT
No bones about it: Fox is about to lose a lot of money.

In a stunning move, an arbitrator has demanded 21st Century Fox pay nearly $179 million to several key participants of Bones, the hit television drama that Fox both produced and aired for twelve seasons before the show ended in 2017. The decision was handed out earlier this year, but only revealed today, according to The Hollywood Reporter.

The ordeal began in 2015, when multiple lawsuits were filed against Fox and its parent company by Bones actors David Boreanaz and Emily Deschanel, as well as executive producers Barry Josephson and Kathy Reichs. They alleged that Fox had underpaid them their share of profits from the show’s successful run, using various methods of obfuscation and creative accounting.

Bad month of publicity for 20th Century Fox TV, this and Empire/Smollett.

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TV/Production Notes (Streaming)
Julia Roberts in Talks to Star in Amazon TV Adaptation of Novel ‘Charlotte Walsh Likes To Win’
By Tim Baysinger, TheWrap.com - Feb. 28, 2019
EXCERPTS
Amazon Studios could be keeping Julia Roberts in the fold.


Roberts is not expected to return for season 2 of Amazon’s “Homecoming,” though she’ll remain on board as an executive producer. While representatives for Amazon would not comment on her departure to TheWrap, an individual with knowledge of the production said she had only signed on to star on the first season, and that it’s possible she could appear on-screen in some capacity in the second season.

“Mr. Robot” creator Sam Esmail, who directed all 10 episodes, had previously told TheWrap that he deviated from the podcast-version of the storyline, in part to give Roberts’ character an ending.

https://www.thewrap.com/julia-robert...-likes-to-win/

Didn't know of Julia Roberts absence from "Homecoming" Season 2.

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Right you are, and nearby locations.
Story was from The Hollywood Reporter. To them, Vancouver is a suburb of Hollywood. Or, they hire writers pretending to be journalists.
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post #28254 of 32585 Old 02-28-2019, 03:12 PM
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Story was from The Hollywood Reporter. To them, Vancouver is a suburb of Hollywood. Or, they hire writers pretending to be journalists.
"Hollywood North", I've heard.

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Rami Malek as Bond villain? Overkill, maybe a good title for this movie, too.

Quote:
According toVariety, Malek's attachment to the Bond movie was up in the air, as he was previously in talks for the villain role, but had to drop out due to scheduling conflicts with Mr. Robot. Now that filming for the movie has been pushed back, the outlet reports that Malek is back on board.
https://www.etonline.com/rami-malek-...clusive-120695

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There's been talk of recasting Justin Smollett's character with a different actor. Great! Just like Bewitched replacing Dick York with Dick Sargent for the role of Darrin. Wreaked havoc on that series back in the 60s.
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Didn't know of Julia Roberts absence from "Homecoming" Season 2.
She's moving behind-the-scenes for S2 of "Homecoming" and will not appear on camera, thus freeing Roberts to take another on-camera role in another Amazon Prime series (aka still part of the Amazon echo system).

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TV/Critic's Notes
TV Is in the Midst of a Black Hair Revolution We Can't Ignore
This Is Us' Beth, black-ish's Rainbow, Insecure's Issa and more are normalizing natural hairstyles on TV… and it's about time
By Chanté Griffin, TVGuide.com - Feb. 28, 2019

I will never forget the moving 2014 episode of ABC's How To Get Away With Murder where powerhouse attorney Annalise Keating (Viola Davis) removed her wig while preparing for bed. In this rare moment of vulnerability, Annalise gave us a glimpse of the world-weary person beneath the perfectly manicured facade, one that was complete with hair textures white people in white-collar professions understand. I gasped when she took the wig off. As a viewer, I was riveted by this intimate portrait. As a black woman, I was thankful for the authentic portrayal, yet saddened that she was visibly troubled. Annalise represented the decades-, perhaps even centuries-long struggle of black women around the world: When will my talents matter more than what's growing out of my head?

It's a struggle that I went through recently myself. Growing up, my Saturday morning routine involved consuming cereal and cartoons and enduring the scorching hot pressing comb that tamed my natural hair. Two years ago, however, I cut off my straightened hair to go natural, only to receive disparaging remarks from family. I don't know why you had to go out and cut off all of that beautiful hair! Others took more subtle jabs posed as a question. Don't you miss your long hair?

Their words echoed our culture's more clearly: the only thing worse than a black woman with natural hair is a black woman with short natural hair.

All of my closest friends went through similar negotiations of their own: When my best friend interviewed for medical school, for example, she straightened her hair because she felt it would help her to be taken seriously, even though she had graduated from a leading college.

Just this month, the New York City Commission on Human Rights finally banned discrimination based on natural hair in work, school and public spaces. In 2016, however, an employer legally rescinded a job offer to a black woman who refused to cut her locs. In 2017, a preparatory academy in Montverde, Florida, asked a black teenage girl to change her natural hair because it violated the school's dress code. Similarly, in 2018, a middle school student in Gretna, Louisiana was removed from school due to her braided extensions.

The pressure many black women and girls feel to alter our natural hair and protective styles isn't imagined; it has real-world consequences that affect our education, finances, social standing and ability to function unrestricted as contributing members of society. This social pressure means, for some black women, that wearing natural hair, short or long, requires a level of public vulnerability they are willing neither to endure nor entertain. This is why Annalise wears a wig. It is her access key to the larger professional world as much as it is her protection against it.

Thankfully, only a few channels (or one streaming site) away, we can find quite a few black women pushing back on what's acceptable in professional and personal spheres, and these actresses are leading the natural hair revolution on-screen.

Tracee Ellis Ross' character Rainbow Johnson on the hit ABC show black-ish is a prime(time) example. In a single episode, Bow may don three or four different natural hairdos. Here, Bow strategically models #WhatADoctorLooksLike and shows how black doctors' hair can shape-shift.

According to Bow, black doctors sometimes flaunt voluminous curls and sometimes rock afro puffs — one, two, or four — to simulate a faux mohawk. According to Bow, yes, sometimes black doctors wear a simple high or low bun, but they also floss the bamboo earrings LL Cool Jay rapped about in the 1990 hit "Around the Way Girl." Bow assures us black doctors don't mind being considered around the way girls. Bow's hairstyles matter because they counter the dominant cultural narrative about the non-professionalism of natural black hair.

Similarly on NBC's This Is Us, black women rock their natural hair and protective styles on camera. One week, America watches Beth Pearson (Susan Kelechi Watson) sport a regal pompadour with either afro puffs or Bantu knots, depending on her mood. The next, she might whip out Senegalese twists if she doesn't want to fuss with her hair. Beth is not alone; her and Randall's two daughters and their adopted daughter, Déjà (Lyric Ross) all flaunt natural coils that differ in length and texture.

While Beth Pearson and Rainbow Johnson are characters who are pushing the envelope of what successful, professional black women can look like — particularly when they are also essentially in charge of running their families — wearing natural hair is a different kind of resistance for other women who don't have it all... like the messy, complex Issa Dee (Issa Rae) on HBO's Insecure.

On Insecure, we get to watch Issa change hairstyles as if she were hosting a three-hour awards show: a braided updo with twist-out bangs for the first hour, cornrows with afro puffs at the bottom for the second hour, and an elegant afro puff to finish off the broadcast. Each hairstyle is a reflection of the unparalleled versatility of black hair: It can stand stiffly in attention one moment, coil together in three-inch clumps the next if wet, and finally unfurl seven inches long if stretched.

But unlike Bow and Beth, whose socioeconomic statures turn their hair choices into sociopolitical statements, Issa's myriad of gorgeous styles clearly reflect another part of the cultural landscape. For Bow and Beth, their hair is a flex, a sign that their lives — despite many ups and downs — are as together as their follicles. For Issa, her hair is one of only a few parts of her life she has control over.

Issa is a nonprofit counselor, a Lyft driver, an apartment super with no idea how to fix things. She has people she'd die for but sometimes doesn't like. We watch her give motivational messages to students in one scene and heart-warming speeches to potential financial donors in another, and then we witness her spit rhymes in her bathroom mirror later that evening. Amidst all these wildly different, wildly versatile facets, is a portrait of a woman who has no plan — or even necessarily desire — to get to the top, but is damn sure gonna look good wherever she ends up. For Issa, her hair is simply, purely self-expression, as mercurial her moods, financial situation and flirtations. On TV, that's a privilege historically extended to everyone except black women.

Thankfully today, there are plenty of role models on screen claiming that privilege as a right. Actress Aisha Hinds, who stars in FOX's 9-1-1, has been rocking a bald fade for what seems like forever. Grown-ish's Yara Shahidi and singing duo Chloe x Halle, whose performance in their loc updos at the recent Grammy Awards mesmerized viewers, are great hair role models as well. Let's not forget, too, First Officer Michael Burnham (Sonequa Martin-Green) of Star Trek: Discovery, whose natural hair warps into the future weekly.

The intentional choices of these actresses and others like them, coupled with movies like Netflix's Nappily Ever After, continue to force a national dialogue around the topic and normalize on TV what should have always been normal on TV. They also reflect a growing trend: Statistics show that perm product sales continue to plummet as more black women embrace their natural hair.

Maybe TV shows have increased acceptance of natural hair, or maybe they are simply reflecting changing cultural norms. It's hard to know exactly, but I suspect that we will continue to see more natural black hair in our offices, boardrooms, schools and TV screens. One thing I know for sure is that this revolution will be televised.

https://www.tvguide.com/news/black-h...s-us-insecure/
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TV Notes (Cable)
Nat Geo Channel to Air Ad-Free 'Free Solo' on Sunday, March 3
By Multichannel News Staff - Feb. 28, 2019

National Geographic Channel will air Oscar-winning documentary film Free Solo on Sunday, March 3, at 9 p.m. (8 p.m. central time) commercial free, followed by a global rollout across 172 countries and 43 languages, the programmer said.

Directed by documentary filmmaker Elizabeth Chai Vasarhelyi and photographer and mountaineer Jimmy Chin (who directed the Oscar-shortlisted film Meru), Free Solo is "a stunning, intimate and unflinching portrait of the free soloist climber Alex Honnold as he prepares to achieve his lifelong dream: climbing the face of the world’s most famous rock ... the 3,200-foot El Capitan in Yosemite National Park ... without a rope," per Nat Geo.

Both a thriller and an inspiring story about an athlete's quest to triumph over the impossible, Free Solo posted the highest per screen average of any documentary during its opening weekend (Sept. 28, 2018) and the highest box office for a documentary in its 19th weekend in release, according to the programmer. Now, as it enters its 20th week in release, the National Geographic Documentary Films offering also won a BAFTA award for best documentary in addition to Critics Choice and Cinema Eye awards, among several other industry recognitions.

“When we were making this film, we could not have imagined the response we have received,” directors Vasarhelyi and Chin said in a release. “While most of us wouldn’t dream of free-soloing 3,000 feet, Alex’s story of courage, dedication and determination is very relatable. We’re grateful to be working with National Geographic and Fox Home Entertainment, and thrilled that Alex’s journey will continue to inspire others to dare to dream.” National Geographic Documentary Films and Nat Geo Channel are in the National Geographic Partners joint venture of National Geographic and 21st Century Fox.

https://www.multichannel.com/news/na...d-free-march-3
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TV/Production Notes (Streaming)
The Baby-Sitters Club Dramedy Series Snags 10-Episode Order at Netflix
By Rebecca Iannucci, TVLine.com - Feb. 28, 2019

The Baby-Sitters Club will reconvene at Netflix for its next meeting.

The streaming service has handed a 10-episode order to a dramedy series based on Ann M. Martin’s beloved books.

Described as a “contemporary, family-friendly adaptation,” Netflix’s live-action series will follow the friendship and babysitting adventures of five best friends — Kristy Thomas, Mary Anne Spier, Claudia Kishi, Stacey McGill and Dawn Schafer — in Stoneybrook, Connecticut.

“I’m amazed that there are so many passionate fans of The Baby-Sitters Club after all these years, and I’m honored to continue to hear from readers — now grown, who have become writers, editors, teachers, librarians, filmmakers — who say that they see a reflection of themselves in the characters of Kristy and her friends,” Martin said in a statement. “I’m very excited about the forthcoming series on Netflix, which I hope will inspire a new generation of readers and leaders everywhere.”

Added Melissa Cobb, vice president of kids and family programming at Netflix: “The themes of The Baby-Sitters Club still resonate 30 years after the original book series was released and there has never been a more opportune time to tell an aspirational story about empowering young female entrepreneurs. Together with Ann M. Martin and the team at Walden Media, our ambition is to contemporize the storylines and adventures of this iconic group of girlfriends to reflect modern-day issues.”

Martin is among the show’s executive producers, along with Michael De Luca (Escape at Dannemora) and Lucia Aniello (Broad City). Rachel Shukert, a writer and co-producer for Netflix’s GLOW, will serve as showrunner.

The Baby-Sitters Club was previously adapted into a TV series that ran on HBO in 1990. A film based on the books, starring Rachael Leigh Cook, Larisa Oleynik and Schuyler Fisk, followed in 1995.

https://tvline.com/2019/02/28/the-ba...order-netflix/
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